寫意花卉的典範與轉折——以臺北國⽴故宮博物院藏徐渭《花竹圖》為中⼼

Abstract

本論文以國立台北故宮博物院藏徐渭《花竹圖》和費城美術館藏《十六花姨圖》為中心，討論寫意花卉的典範與轉折。首先梳理徐渭以前寫意花卉的起源與典範，將初代典範定於南宋末年的牧谿，並討論其後寫意花卉的發展與變體。其次整理徐渭其人，從其生平交遊、詩文流傳與傳世作品確立其風格的選擇；再從兩件中心作品的比較中，梳理出畫家對於寫意花卉典範的重新理解與重新定義，建立寫意花卉的次代典範。最後討論一批清代以鬻畫維生的文人群體，對徐渭重新定義的寫意風格的繼承；以及徐渭是如何在被當時畫史、畫評輕視的情況下，成就其目前寫意花卉大師的地位。

This Study is about the “Paradigm Shift” of “Hsieh-Yi Flower Painting”（寫意花卉）in early modern China, focuses on Hsu Wei’s（徐渭） “Flowers and Bamboo”（花竹圖） in National Palace Museum and “Sixteen Flowers” （十六花姨圖）in Philadelphia Museum of Arts. In the first, combs out and concludes from the original module of “hsieh-yi” flower paintings before Hsu Wei, confirming the original paradigm of this painting class could be settled on Monk Muqi（牧谿）at late Southern Sung, discussing the development and variants since then. Secondly, establishing Hsu’s painting style by re-organize his biography, relationships and famous art works. By comparing two of the most similar hanging scrolls — “Flowers and Bamboos” and “Sixteen Flowers”, summed up the re-construction and re-definition of “Hsieh-Yi” flower painting in Hsu’s hand, who established the Neo-Paradigm of this painting class. At last, discussing a group composed of literal painters who sell their works for living in Qing Dynasty, inherited Hsu’s style and spread to the art market since Mid-Qing .